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Doublereed Archive - Posting 000024.txt from 2007/11
From: "HAROLD" <harold@-----.br>
Subj: [DR-L] =?Windows-1252?Q?=CF_hate_music=22?=
Date: Sun, 11 Nov 2007 10:51:38 -0500
oh so true (coming from an oboist-composer) but ole ludvig didn't write for
musicians kicking soccer balls,crushing cans,using flashlights, making
sounds which resemble ....oh well
(PS--I did ...writing for bells, cuicas,agogos,wind machinesc. The curse of
the Gods!
Subject: [DR-L] Re: "Ï hate music"
On Nov 11, 2007, at 9:40 AM, HAROLD wrote: [is it tomorrow in Rio
already?]
> Dear Sleepy Weekend Lists:
>
>
> Does anyone out there in musical cyberspace know what it is to get up
> in the morning,have breakfast and know that within the next three-four
> hours your ears will be assaulted with sounds,screaches and noises
> which --to my view of thinking--didn't work thirty years aqgo and have
> gone out of style today as "new"' music?
Ah well, plus ça change, and all that. It is, however, interesting to
note that Beethoven had the same problems. From the Quarterly Musical
Magazine and Review, published in London in 1825: (remembering that
the Ninth Symphony was barely a year old)
Its length alone will be a never-failing cause of complaint to those
who reject monopoly in sounds. While we are enjoying the delight of
so much science and melody, and eagerly anticipating its continuance,
on a sudden, like the fleeting pleasures of life, or the spirited
young adventurer, who would fly from ease and comfort at home to the
inhospitable shores of New Zealand or Lake Ontario [editorial
comment-- they are actually quite hospitable JW], we are snatched
away from such eloquent music to crude, wild and extraneous
harmonies… . The chorus that immediately follows is in many places
exceedingly imposing and effective, but then there is so much of it,
so many sudden pauses and odd and almost ludicrous passages for the
horns and bassoons, so much rambling and vociferous execution given
to the violins and stringed instruments, without any decisive effect
or definite meaning—and to crown all, the deafening boisterous
jollity of the concluding part, wherein, besides the usual allotment
off triangles, drums, trumpets, etc, all the known acoustical missile
instruments I should conceive were employed…that they made even the
very ground shake under us, and would, with their fearful uproar,
have been sufficiently penetrating to call up from their peaceful
graves the revered shades of Tallis, Purcell, and Gibbons, and even
of Handel and Mozart, to witness and deplore the obstreperous
roarings of modern frenzy in their art… . Beethoven finds from all
the public accounts, that noisy extravagance of execution and
outrageous clamor in musical performances more frequently ensures
applause than chastened elegance, or refined judgement. The inference
therefore that we may fairly make, is that he writes accordingly.
Whew. Now tell us what you really think. I like the part where the
trumpets get lumped in with the percussion, as "acoustical missile
instruments".
Yours in chastened elegance,
John
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